Publications.

Ciara Healy-Musson is a Writer, Book Artist, Curator and Lecturer in Art,
Culture & Heritage at IT Carlow, Ireland. She is the recipient of an IMPACT Research Award from University of Reading (2016), a Large Grant Award from Arts Council Wales for a curatorial research project titled Thin Place (2015) and she was one of the 2011 recipients of the Wales Arts International and Axis Critical Writing Award.

Healy, C. (2018) Usually She is Disappointed, Fotograf, Volume 17, Issue 32 pp82-87, Prague: Czech Republic.

fotografmagazine.cz Read more for the English translation.

Healy, C. (2014) Review of Fixed Position, Flora Parrott at Tintype, London: This Is Tomorrow.

The images that make up Usually she is disappointed reflect Mullaney’s resolve to ensure that we cannot turn away, that we cannot be quietly ushered, screaming child in arms, towards the exit. She argues that we are all implicated and that, most importantly, we are living through a time and place loaded with implicit cultural boundaries; where restrictive social pressures continue to prevail and where the expectation to conform comes as much from within as from outside

From Healy, C. (2018) Usually She is Disappointed, Fotograf, Volume 17, Issue 32 pp82-87, Prague: Czech Republic

Healy, C. (2013) Review of Jo Addison at Tintype Gallery, London: This Is Tomorrow.

Healy, C. (2014) Miranda Whall, Bath: Institute of Contemporary Interdisciplinary Arts (ICIA)

Like a palimpsest, Pike layers the past and the present into many of her artworks. Several kinds of time operate in parallel: the painted mark on canvas which already bears the marks of other times and other presences, the felt impression on clay or concrete - all show the extent to which we are involved with, and encounter, material surfaces from the moment we are born. From the surface of other people’s skin, to the surface of the material world in all its forms, we are perpetually engaged with marking time on surfaces, and those surfaces in turn, mark time on us.

Healy-Musson, C. (2020) Natasha Pike, And Almost I Am Back Again, Lismore Castle Arts

Healy, C. (2012) Review of Caroline Achaintre, Sara Barker, Alice Channer, Eastside Projects Birmingham: This is Tomorrow.

Healy, C (2015) Thin Place, Arts Council Wales: Oriel Myrddin Gallery ISBN 978-0-9551434-5

The playful, elusive and lyrical nature of Addison’s work quietly acknowledges the ominous darkness of our current reality, whilst simultaneously reminding us that alternative, more hopeful perspectives have always existed, suggesting that the material world is capable of exceeding every conscious glimpse we glean of it and every linguistic structure we impose on it

From Healy, C. (2013) Review of Jo Addison at Tintype Gallery, London: This Is Tomorrow.

The fetish black lustre sheen on Achaintre’s ‘Polymum’ (2012) in particular, pushes the materiality of fired earth to its limit. Darkly erotic and simultaneously playful, its duality is the subject matter. A glaze becomes a mask for the clay, the mask a glaze for the wearer; both claiming reality.”

From Healy, C. (2012) Review of Caroline Achaintre, Sara Barker, Alice Channer, Eastside Projects Birmingham: This is Tomorrow.

Other Published work.

• Healy, C. (forthcoming 2019) Book chapter in Climate and culture: multidisciplinary perspectives of knowing, being and doing in a climate change world, Cambridge University Press.

• Healy, C (2015) Thin Place, Arts Council Wales: Oriel Myrddin Gallery ISBN 978-0-9551434-5

• Healy C. (2017) Objects of Survival. Keynote Paper delivered at Postgraduate Art & Humanities Conference, University of Dundee.

• Healy, C. And Stead, S. (2016) Already the world – A Post-humanist Dialogue. Paper delivered at Alter Rurality 3, Letterfrack, Ireland, 8th June 2016.

• Healy, C. And Modeen, M. (2015) Vibrant Places – A Thin Place Dialogue. Paper delivered at the 2015 Association for Literature and Environment Conference, University of Cambridge, 2nd September 2015.

• Healy C, (2014) How art curation can form an access point to the ‘spiritual.’ Nazarene Theological College, University of Manchester.

• Healy, C. (2013) Forever Beginning: An introduction to the concept of Thinness and its potential significance to curatorial practice. University of Leeds.

• Healy, C. (2013) Thin Curating: An introduction to trans-disciplinary curatorial practice, University of Swansea.

• Healy, C. (2013) Keeper, A Literary Exploration of the Loved Object, Swansea Metropolitan University.

• Healy, C. (2018) Usually She is Disappointed, Fotograf, Volume 17, Issue 32 pp82-87, Prague: Czech Republic.

• Healy, C. (2014) Net Curtains, Textile, Volume 12, Issue 3 pp. 378 – 383, London: Bloomsbury.

• Healy C. (2014) And the Night was Kind, The Blue Notebook: Journal for Artists Books, Volume 8, 2014.

• Healy, C. (2014) Review of Fixed Position, Flora Parrott at Tintype, London: This Is Tomorrow.

• Healy, C. (2014) Review of Mooner at Arcade gallery, London: This is Tomorrow.

• Healy, C. (2013) Review of ArtFarm Residency, Dublin: Visual Arts Newssheet.

• Healy, C. (2013) Review of Jo Addison at Tintype Gallery, London: This Is Tomorrow.

• Healy, C. (2013) Review of Prodigal in Blue at Laura Bartlett Gallery, London: This is Tomorrow

• Healy, C. (2013) Review of Y O U at Oriel Mostyn, London: This is Tomorrow.

• Healy, C. (2013) Difference Engine at Oriel Myrddin, London: This is Tomorrow.

• Healy C. (2012) Review of Motion Capture at the Lewis Glucksman Gallery, Cork: This is Tomorrow.

• Healy, C. (2012) Review of My Bad, Bedwyr Williams at IKON, Birmingham: ArtReview.

• Healy, C. (2012) Review of Crazee Golf, Tintype Gallery, London: This is Tomorrow.

• Healy, C. (2012) Looking to Remember: A Literary Exploration of the work of Sara Barker London: Axis.

• Healy, C. (2012) Review of Left of Place, Mary Maclean at Five Years Gallery, London: This is Tomorrow.

• Healy, C. (2012) Review of Caroline Achaintre, Sara Barker, Alice Channer, Eastside Projects Birmingham: This is Tomorrow.

• Healy, C. (2012) Coal Dust Mandala, Review of Jonathan Anderson Exhibition, London: This is Tomorrow.

• Healy-Musson, C. (2020) Natasha Pike, And Almost I Am Back Again, Lismore Castle Arts

• Healy C. & Mackey C. (2007) Riverworks, Sligo: Arts Council of Ireland.

• Healy, C. (2014) Miranda Whall, Bath: Institute of Contemporary Interdisciplinary Arts (ICIA)

• Healy, C. (2014) Mary Modeen, Edinburgh: Edinburgh Printmakers.

• Healy, C. (2013) Keeper, A Literary Exploration of the Loved Object, Swansea: Mission Gallery.

• Healy, C (2011) Tracing the Aura of Place, Catalogue Essay for Field Notes, Arts Council Wales: Oriel Myrddin.

• Healy, C. (2015) Ghost Loop, Essay Commissioned for Black Diamond, created by Serena Korda for Confluence, Wales.

• Healy C. (2014) The Unfolding. Essay Commission for Journey : Response to Place, created by members of Sculpture Cymru, Wales.

• Healy, C. (2013) Critical Essay Commission for Matt White, Wing of a Fly, Spike Island, Bristol: Arts Council, England.

• Healy C. (2013) Certain Trees, Artists Book Essay Commission for David Harker, London: Axis.

Find out more

Get in touch to discuss any of my work or future work.